215 x 135 mm
In this third title in the Digressions series Alex Cecchetti and curator Julie Pellegrin look into the genesis of the exhibition Tamam Shud, in which the artist invites us to accompany him on an immersive investigation of a baffling disappearance.
Combining the talents of visual artist, poet and choreographer, Alex Cecchetti devises performances and idiosyncratic objects that can turn up in exhibitions or other contexts. Drawing his inspiration from literature, philosophy, science and music, he brings enormous playfulness and wit to a poetic, gestural language that mysteriously unites his spectators and launches them into rituals and journeyings that call perception and life’s great existential issues into question.
The Tamam Shud exhibition is the outcome of two years’ research and writing driven by practices as diverse as poetry, painting, music, dance and performance. This interview looks back to the genesis of a project whose title – “This is the End” in Old Persian – paradoxically becomes a trigger for something new. It offers an insight into the way the exhibition resembles an identity quest in the form of a landscape to be crossed. This is an exhibition to be experienced and inhabited, and from which the artist emerges as a protean writer.
About the Artist
Alex Cecchetti was born in Terni (Italy) in 1977; he lives and works between Paris and London. Alex Cecchetti is an artist, poet, gardener, and choreographer. His unclassifiable work could be considered the art of the unrepresentable: in his tactile and poetic, aesthetic and materialist style, he creates mental and physical environments in which viewers often form part of the work. He sees his exhibitions as celebrations of nature and his performances as incantations. Alex Cecchetti has shown his work in France and abroad, recently with a monumental installation and performance at Maxxi, Rome (2021), a solo exhibition at Casa da Cerca, Almada (2021), and a double solo exhibition with Laure Prouvost at Netwerk, Aalst (2020).
About the Collection
Initiated in 2017 by Julie Pellegrin and the team of the Contemporary Art Center La Ferme du Buisson in collaboration with the Captures editions, Digressions is a collection of interviews (bilingual French / English) which accompanies the programming of the Art Center. Through conversations with the guest artists, the notebooks give access behind the scenes of the projects and testify to the reflections, research, methodologies and sometimes doubts or trial and error that nourish a work process. By giving the floor to the artists, the whole collection makes very singular voices heard which nevertheless resonate with each other to explore shared questions around the performance and the writing of the exhibition, the commitment corporal and political, of the decompartmentalization of disciplines.
For each issue, there is a change in color of the cover paper with or without embossing, distinguishing the publications in relation to the artistic project. The inside pages are printed in a pantone tone and the transition to the English language is materialized by a double-page image resulting from the research work. Postcards from the exhibitions are printed and inserted randomly into the notebooks like bookmarks. The elegant and dynamic layout by Claire Moreux marries the intricacies of reflection by inviting the reader to navigate, literally, in the text.
About the Publisher
Captures’ initial priority was to publish artists’ books, an association artist, graphic designer and publisher, free of all constraints. Subsequently, with the constant desire to prioritize the artist’s voice, uncover research, differences and debates on the question of art, other collections were born: monographs, collective works and interviews.